The latest in a series of interviews with artists who have developed a significant body of work engaged (in its process, or in the issues it raises) with technology. See the full list of Artist Profiles here.

The first exhibition of your work that I saw was "Survivors' Hunting" at Magician Space, Beijing, in 2013. It showed your tendency towards exploring history and artefacts and the way these are presented, as well as your attitude to time and simultaneity—ignoring linear time. In it, there was a series called Cloud Atlas (2013; the title is copied from the 2004 novel by David Mitchell, in which past and future come to overlap)—freestanding works made of wooden board and painted in mushy, camouflage colors with car paint. Tall and glossy, standing in the small gallery like totems or movable walls for a stage set. They seemed to stand for something (like monuments or steles do), yet the nature of that something was missing completely. To me, this felt truly uncanny. Was it part of your aim to create this sense of disorientation?

If I do an exhibition, I like to—as artists we cannot provide any answers. We just can offer possibilities. I try to make my exhibitions convey some kind of sense, with a lot of clues. These clues can maybe lead the audience to somewhere they want to go. In my daily work, I am always trying to find out much more, to discover different methods for how I understand the world, how I draw responses and experiences from it. For the Magician Space show, I provided a lot of details for something. I can't give the right answer. I just give clues so that you can get into it and maybe use a little bit of personal imagination to try to figure out what it is.